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Universität Leipzig Referentinnen: Prof. Dr. Elisabeth Burr Anne Dornfeld ‚Questione della lingua’ und Grammatikographie Diana Pilski 22. November 2005 (WS 2005 / 2006) Dörte Gollek Die Questione della lingua im Cinquecento und die Volgare-Modelle DIE WIEDERENTDECKUNG VON DE VULGARI ELOQUENTIA UND DIE DISKUSSION UM DIE LINGUA CORTEGGIANA EINLEITUNG • seit dem ’300 gab es innovative volgare-Einflüsse • Anfang ’400 Questione della lingua I: Welches Latein soll man schreiben? • im Mittelalter und während des Humanismus Questione della lingua II: Latein oder volgare? Æ gebunden an Normvorschläge und stilistisch-grammatikalischen Kanon Æ theoretische Seiten von Dante im Convivo und De vulgari eloquentia 1 volgare erhält ein höheres Prestige • entscheidend für die konzeptionelle Schriftlichkeit: politische Einigung und die Zentralisierung eines Staates Æ durch die fehlende machtpolitische Zentrierung Italiens stehen im ’500 noch verschiedene Modelle zu Diskussion: - Lingua cortigiana - Aktuelles Florentinisch gelten als ausbaufähige Modelle - Tre-Corone-Modell Æ Einigung auf ein Modell nötig, sowie Normierung durch Grammatikschreibung = Questione della lingua III (Welches volgare-Modell?) Æ Latein in Überdachungsfunktion ablösen durch volgare, dessen überregionaler Geltungsanspruch verfochten und dessen weitere Ausbaufähigkeit erwiesen werden muss Æ Suche nach einer einheitlichen Norm durch Buchdruck (1450 von Gutenberg entwickelt) vorangetrieben TRISSINO E LA RISCOPERTA DEL DE VULGARI ELOQUENTIA Dantes De vulgari eloquentia • die für das ’200 und ’300 umfassendste theoretische Auseinandersetzung mit der italienischen Kunstsprache = Hauptwerk der europäischen mittelalterlichen Sprachwissenschaft • unterscheidet: lingue naturali ÅÆ lingue grammatiche von Gott gegeben ÅÆ vom Menschen geschaffen volgare ÅÆ Latein Veränderung ÅÆ Stabilität 1 • Bestreben, der lateinischen Literatursprache eine italienische entgegenzustellen (= lingua illustre) • der unmittelbare Einfluss des De vulgari eloquentia blieb gering 1 Normdiskussion in Italien zunächst unabhängig von Dante Æ Trissino: 1529 Übersetzung 1 eine der theoretischen Grundlagen der questione della lingua Giovan Giorgio Trissino (1478-1550) • größter Gegner der Theorie Bembos • „lingua italiana“: supraregional und ausschließlich toskanisch • Konzept der Sprache klären bezüglich Schriftlichkeit und Mündlichkeit • Fehlinterpretation auf theoretischer Ebene: interpretiert curiale einzelsprachlich i. S. der lingua cortigiana ÅÆ Dante schrieb es diskurstraditionell dem vulgare illustre zu 1 Auslösen der „eigentlichen“ Questione della lingua La teoria cortigiana • Informationsquellen hauptsächlich Schriften der Gegner • „fantasma“: Schwierigkeit, zum Wesentlichen und zu einer eindeutigen und kohärenten Formulierung zu gelangen • Hintergrund des höfischen sprachlichen Ideals: Koine-Literatur der Höfe im ’400 Anfang ’500 • konzeptionelle Schriftlichkeit ’400/Anfang ’500: Modell der lingua cortigiana wird Ausbau in extensiver Hinsicht zugetraut Æ lingua cortigiana ist aber weder einzelsprachlich noch diskurstraditionell einheitlich: - einzelsprachlich: schwankender Anteil an Latinismus, an (v.a. padanischen) Regionalismus und an Florentinismus (i.S. des Tre-Corone-Modells) - diskurstraditionell:neben die Domäne der Kanzlersprache tritt die höfische Konversation (wichtig sind Höfe von Ferrara, Mantua, Urbino und Rom). • literarische Praxis: Tendenz zum lingua cortigiana-Modell seit Ende des ’400 (Bojardo, Ariosto) Vincenzo Colli, genannt il Calmeta (1460-1508) • erster Verfechter dieses Modells • 2 Merkmale des cortigiano: toskanische Sprache (v. a. florentinisch) & Studium Dantes und Petrarcas • der römische Hof spricht besser als alle ihm untergebenen italienischen Provinzen • Rom auch politisch für Dante gerade zu ideal: - natürlicher Hauptsitz des Imperiums 2 - höchste staatliche Gewalt: aula und curia Æ trotzdem verurteilt Dante das römische volgare: nach und nach immer „italienischer“ • laut Bembo: Mischung aus vielen Sprachen (spanisch, französisch, napoletanisch, ...) Æ Kritik: keine stabile Regeln auf Baldassar Castiglione • Il Cortegiano (1528) • Sprachideal der lingua cortigiana als Bestandteil einer umfassenden höfischen Kalokagathie (=Verbindung von Schönem und Gutem als Bildungsideal): Vielseitigkeit höfischer Fähigkeiten (gesellschaftlicher Umgang, Künste, Tanz, Spiele, Sport, Waffengebrauch etc.) ohne jede Spezialisierung und „affettazione“ • Recht auf eine Sprache, die nicht strikt toskanisch ist = lingua comune basierend auf lexikalischer Wahl, fern von jeder archaischen Affektiertheit und die nicht nur auf Imitation von Petrarca und Boccaccio reduziert wird • legt sich weder auf archaisches Toskanisch noch auf „heutiges“ fest Warum konnte sich das Modell nicht durchsetzen? • teoria cortigiana konnte nicht so perfekt und vollständig sein, wie die Bembos • Mischung der lingua comune (Latinismen etc.) • Verteidiger der lingua cortigiana bzw. italiana nähern sich in ihren eigenen Schriften bereits dem Tre Corone-Modell in stärkerem Maße an • Rom verliert den Charakter eines Zentrums der lingua cortigiana • keine Trennung von geschriebener Sprache und Konversation auf hohem Niveau DAS VOLGARE-MODELL DES AKTUELLEN FLORENTINISCH UND SEINE DREI PHASEN Praxis des aktuellen Florentinisch • Einteilung des aktuellen Florentinisch 3 Phasen: 1. Phase: • „Krise“ des Volgare bis zur Mitte des Quattrocentro: das aktuelle Florentinisch bleibt nur auf lokal rezipierte Texte beschränkt 2. Phase: • erstmals Aufnahme von Elementen des aktuellen Florentinisch auch in streng schriftlich konzipierten Werken • Der Schwerpunkt dieser Phase liegt im Bereich der Poesie ¬ gepflegt von Lorenzo il Magnifico und seinem Kreis (Pulci, Poliziano u.a.) 3 - Ende der „mediceischen Blüte“ eines aktuell-florentinischen Modells nach dem Tode Lorenzos 1492 und nach der Vertreibung der Medici im Jahre 1494 - die Realisierung des aktuell-florentinischen-Modells in der Prosa leistet Niccolò Machiavelli (1469 – 1527) 3. Phase: • setzt etwa ab 2. Viertel des Cinquecento ein • Schwerpunkt: Komödie – mit: Gelli, Grazzini und Doni ¬ sie sind der lebendigen Umgangssprache verbunden ¬ dialektale Elemente werden von ihnen im Sinne einer charakteristischen Redeweise eingesetzt • Sprachbewusstsein reift heran: - Gelli verwendet in den akademischen Reden ein gemildertes Florentinisch - Grazzini ebenso in den Prologen zu seinen Komödien - Doni verwendet Sprachvarianten im italienischen, toskanischen und Volgare-Stil Æ innerhalb der eigentlichen konzeptionellen Schriftlichkeit kann sich das aktuelle Florentinisch neben den anderen beiden Volgare-Modellen nicht halten Theorie des aktuellen Florentinisch • bedeutendster theoretische Beitrag zur Verteidigung des (aktuell-) florentinischen Modells: ¬ Discorso o Dialogo intorno alla nostra lingua - wird Machiavelli, welcher zwischen 1469 und 1527 lebte, zugeschrieben - die Argumente, die in diesem Dialog verwendet wurden, provozierten noch einmal die Diskussion um die Questione della lingua - das Datum der Entstehung des Dialogs ist umstritten, jedoch datiert innerhalb der ersten Höhepunkte der Questione della lingua im Cinquecento - Veröffentlichung erst 1730 ¬ Machiavelli wendet sich in seinem Werk gegen das Konzept der lingua cortigiana und lehnt die Hofsprache als unvollständig ab • Discorso: - Dreiteilung der Sprachthesen: (1) die Sprache als Mischung von den verschiedenen Dialekten Italiens hieße ’Italienisch’ (2) die Sprache, welche aus der Toskana käme solle ’Toskanisch’ heißen (3) für Machiavelli aber war es offensichtlich, dass diese Sprache aus Florenz kam, und sollte daher ’Florentinisch’ heißen 4 - Machiavelli sieht die Notwendigkeit, neue Kriterien des Sprachvergleichs zu schaffen und anzuwenden - er war sicher, dass Schriftsprache florentinischer Herkunft war, dies galt aber noch zu beweisen - Ziel des Discorso: Argumente Dantes in seinem De vulgari eloquentia zurückweisen, vor allem das, dass Dante ausschließlich lingua curiale geschrieben hat - Machiavelli hat den Discorso anhand Trissinos Übersetzung von Dantes Werk geschrieben • Dialogo = künstlicher Dialog zwischen Dante Alighieri und Niccolò Machiavelli • Schlussfolgerung: - selbst lange nach seinem Tode gelang es Machiavelli indirekt mit seinem Dokument die große Diskussion der Questione della lingua wieder anzuregen weiterer Beiträge zur Verteidigung des aktuell-florentinischen Modells • Lodovico Martelli (1524): Risposta alla Epistola del Trissino ¬ kritische Antwort auf Trissinos “Epistola de le lettere nuovamente aggiunte ne la lingua italiana” von 1524 - Martelli beharrt noch deutlicher auf dem aktuellen, lebendigen Sprachgebrauch in Florenz als Machiavelli - stellt Dante als Autor von De vulgari eloquentia in Frage • Claudio Tolomei – (1525): Cesano de la lingua toscana - hat ein weniger partikularisches Toskanisch im Sinn - er ist der Einzige, der meint, man müsste die Schriftsprache mit berücksichtigen Warum konnte sich das aktuell-florentinischen-Modell nicht durchsetzen? • mit der Verteidigung ihres Volgare-Modells bleiben die Florentiner stets unter sich • keine Aussichten, dass sich das Modell in ganz Italien verbreitet wird • bereits im zweiten Drittel des Cinquecento bestätigt sich dies: • Gründung der „Accademia Fiorentina“ am 23. Februar 1541 von Cosimo I. (1519 – 1574) ¬ Mitglieder: Lenzoni, Gelli, Doni – und später noch von Davanzati • Ziel / Zweck der Akademie: Verteidigung des aktuell-florentinischen-Modells, trotz des schon jetzt bekannten Erfolges des Tre Corone-Modells • seit 1560: Sitz
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  • Milan and the Development and Dissemination of <I>Il Ballo Nobile

    Milan and the Development and Dissemination of <I>Il Ballo Nobile

    Quidditas Volume 20 Article 10 1999 Milan and the Development and Dissemination of Il ballo nobile: Lombardy as the Terpsichorean Treasury for Early Modern European Courts Katherine Tucker McGinnis University of North Carolina, Chapel Hill Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation McGinnis, Katherine Tucker (1999) "Milan and the Development and Dissemination of Il ballo nobile: Lombardy as the Terpsichorean Treasury for Early Modern European Courts," Quidditas: Vol. 20 , Article 10. Available at: https://scholarsarchive.byu.edu/rmmra/vol20/iss1/10 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Milan and the Development and Dissemination of Il ballo nobile: Lombardy as the Terpsichorean Treasury for Early Modern European Courts Katherine Tucker McGinnis University of North Carolina, Chapel Hill E MOSCHE D’ITALIA IN UNA POPPA, Volando in Francia, per veder i ragni….”1 In these lines, titled “Di Pompeo Diabone,” the L Milanese artist and poet Giovanni Paolo Lomazzo celebrated the Italian dancing masters who, lured like flies to the web of the spider, served in the courts of France.2 In the sixteenth century there were many Italians in France, including a large number of influential and prosperous dancing masters.3 In spite of obvious connections with Florence via Catherine de’ Medici, the majority came from Lombardy, an area long considered the center of il ballo nobile, the formalized social dance that emphasized courtesy, courtliness, memory, and expertise.
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